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Issue 072 August 2011
David Moratilla, Gun Phil Park,
Jacinto Monteiro & more!Gallery - 10 of the best imagesfrom around the world!
Sam Yang3dcreative interview this
fantastic artist
Modeling Features of the Human AnatomyJose Lazaro,Gavin Goulden, Lino Masciulli&Anto Juriciccontinue ourHuman Anatomytutorial series by showing us how to create feet.
Cartoon AnimalsYaroslav Primachenko creates a cool looking emu character in the secondchapter of this tutorial series.
NEW!!! Vue Environment CreationIn this issueAlex Popescustarts off our new four part tutorial series bycreatingThe Bayin Vue.
Anatomy, cartoon animals, low polyhunters plus much more crammed
into this months 3dcreative magazine.
Mercedes-Benz
300SL (1955)Project Overview by Martin Forg
Cover image by Sam Yang
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page 2www.3dcreativemag.com Issue 072 August 2011
L l y c h r c t r i th i nt t t ur
c n m l i tt l l c h l t ti m , u t in t hi
r i m r h ly ch v m r c t h l
t yl n h u h t i t l l i t h f c in t i n
r u lt . In t hi r i m r i ll l u th r u h t h n ti r
r c f r m th i c m l in t hr u h t t h t t u r i nt in
n i n . t f t h t i ll t n i n y , ut t h r i ll
l n r tu ni ty t l t t h n t f u i n t h r i c f
f t r i ny ur r .
t 1 yC r t i n t h C n c t n l in
t 7Mapping
Chapter3 |JulyIssue071Texturing
Chapter4|ThisIssueRenderingandPresentation
t
t
t
t t
t
m r t i t r i n t th i n u t r y n
t h r r h r f r th i r r m j , ut
therearealsoartists whowereborn
foracertainjob! This is
thecasewithSamYang.
Fromayoungagehe
was destinedforajob at
Blizzardandachieved
his goalat ayoungage.
This is onetalentedguy!
Contents
EditorialI cant believe that we are in
August already. Some of you may
be clinging on to the last days ofSummer, or you may have given in
to the fact that soon the days will
be shorter and colder. But while
the world around us changes there
is one consistent thing you can
rely on, the quality of 3DCreative
magazine.
I will kick things off this month by talking about the amazingly
talented Blizzard artist Sam Yang. Sam was brought to my
attention recently when looking through some of the CG forums.
He has created a great portfolio of work in a short time and has
managed to land himself one of the most desirable jobs in the CG
industry. Sam tells us how he has achieved so much at such a
young age, and shares some really cool work with us.
On the subject of cool work we will move on to talk about this
months Making Of. In the world of CG cars are a common
subject. Because of this each new car image we see needs to
be a little different or executed particularly well. This months
making of ts this specication perfectly. Martin Forgshows
us in this issue how he recreated his cool version of a Mercedes-
Benz 300SL (1955) and talks about the effects he used in post-
production to make his image unique.
Last month we wrapped up our classical sculpture series by
Rafael Ghencev, and in this issue we will move on to something
very different. 3DCreative has never before published articles
about Vue but in the August issue we will be breaking the mould.
Vue is a fantastic piece of software that is becoming more and
more poplar and widely used in the lm and games industry. Vue
is fantastic for creating environments and backdrops and in thisseries Alex Popescuwill be showing us exactly how to do this.
I hope you all enjoyed the rst chapter of the Cartoon Animals
series. This is a fun series with some really helpful tips in it. The
series is continued in this issue byYaroslav Primachenkowho
shows us how to exaggerate features to turn a normal animal into
a cool cartoon.
Tamara Bakhlychevawraps up her low Poly Characters series
in this issue by showing us how to do some nal tweaks to your
image and how to present it in the numerous CG forums. This
has been a great series and a lot of fun, but next month we will be
starting a cool new series about creating futuristic vehicles.
Issue072August 2011
DavidMoratilla,GunPhilPark,JacintoMonteiro&more!Gallery-10ofthe bestimages
fromaroundthe world!
SamYang3dcreativeinterview this
fantasticartist
ModelingFeaturesof theHumanAnatomyJoseLazaro,GavinGoulden, LinoMasciulli &AntoJuriciccontinueourHumanAnatomytutorialseriesby showingushow tocreatefeet.
CartoonAnimalsYaroslavPrimachenkocreatesthiscool lookingcartooncharacterin thesecondchapterof thistutorialseries.
NEW!!!VueEnvironmentCreationInthisissueAlexPopescu startsthis newtutorialseriesb ycreatingTheBayinVue.
Anatomy,cartoonanimals,lowpolyhuntersplusmuchmorecrammedintothismonths3dcreativemagazine.
Mercedes-Benz300SL(1955)
ProjectOverviewbyMartin Forg
Coverimageby SamYang
hi month f tur :
r t n V rh v n
J hn r i n
C r h m n
K li m v l y
Liv i jh
cl i r
u n h il r
v i rt i l l
J c i n t n t i r
3 v t i n Cl u K n / v i H r c h
i th t h r l o f 3D o t l b o o ,
i i t l r t t r : l um , h v
someexclusivechaptersforyou...
Thisismorethan justan artworkbook.
Notonlydoesitfeaturefull- color, full-
pageimages, buteach artisthasgiven a
detailed description, in theirown words,
ofthecreation processbehind each piece
ofpublished artwork. And theyvedoneit
especiallyforthisbook!
hi m onth f tur :
I
c
C r t i n c r t n n im l i r t t r ti n i n t f r n y n h
i th i n i n u t h v i n t 3 . C r t n n i m l r u u l l y
m u f h n f r m t h t r f i rl y i m l t m l n
i n c r l i m i n t t h f c u f th i i n f r , i t iv y u
n r tu ni ty t r i v n r im n t l t ll i nt
f th c r t i v r c . In t hi r i u r r t i t i l l t l i n
y u t hr u h h t r c h th i t , r t ly y c n c n tr t i n
n h t c r t y u r i , u t t h n m v in n t t h m l li n ,
t t ur in n t r u ct i n . E c h ch t r r v i y u
i th n r tu ni ty t i nt th r f t h i n u t r y
r f i n l h i ll i v y u r ic l i n i ht in t h t i
h u r t f t h C i n u t r y .
y 71C h t r 1 | ui t T Ch t r | E u t Ch t r 3 | r i ll
ct 7 Ch t r | c r i n 7 Ch t r | u i c 7 Ch t r | l th
u i f n t t ic i c f f t r t h t i i n u m r n m r i n t h m vi i n u t r y t c r t u ti fu l , r l i t ic
n vi r n m n t . I t c n m t t h n f l m t n y r ti t in n y i tu t i n n , i th m t C c , t h n l y l im it t i n
i y ur i m i n t i n . I n th i r i l c u i l l l r i n h t t t h t ut f t hi v r t i l f t r , t l i n u
t hr u h l lt h t i n n f f r n l i n t t h y in h i ch u c n u t cr t t u nn in n v ir n m n t n c
r . I f y u r in t r t i n u i c f f t r , r if y u r th in i n f h v i n t c r t i n C n vi r n m n t ,
t h n t hi t u t r i l i t h n f r y u !
T
It
t t ttt tI t
t
ContentsWhats in this month?
Sam YangArtist
The Gallery10 of the Best 3D Artworks
Low Poly CharctersChapter 4: Render and Presentation
Cartoon AnimalsChapter 2: Emu
Vue Environment CreationChapter 1: The Bay
Mercedes-Benz 300SL (1955)Project Overview by Martin Forg
Cross of ironDigital Art Masters: Volume 5 - Free Chapter
Modeling Human AnatomyChapter 5: Feet
About us3DTotal.com Ltd Information & Contacts
Issue072August 2011
DavidMoratilla,GunPhilPark,JacintoMonteiro&more!Gallery-10ofthe bestimages
fromaroundtheworld!
SamYang3dcreativeinterviewthis
fantasticartist
i
i l i i .
i l l i i
i il i .
I i i i i l i ii .
r j t r i y rtinF r
C r im y m n
C pt 1 p il u Er
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C p t u l u 7 1Hn
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l in t h f t u r f ch r c t r i m t h in t h t h c u r l m f r m n y r ti t
v r t h y r . m l c n i ly i l y n i nc r r c tl y m l f t u r , u ch
h n r n r . h i f fr t y t u i t h l y u m u r y u n v r
t ru l i t h f t u r m l in i n, r n ti n t i l c h t r th t h v n r it t n
c i c ll y f r 3 , y , C in m n m .
001
008
020
032
040
048
060
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068
085
Free Stuff!
Wherever you see this symbol, click it to
download resources, extras & even movies!
Editor
Simon Morse
Lead Designer
Chris Perrins
Layout
Layla Khani
Matt Lewis
Content
Simon Morse
Tom Greenway
Richard Tilbury
Chris Perrins
Proofing
Jo Hargreaves
Marketing
Amy Bayliss
I hope you have been enjoying the Modeling Features of the Anatomy series.
In this issue our artists will walk us through how to model a foot. There are no
changes to the line-up so or instructors as always are Jose Lazaroin 3DS Max,
Gavin Goulden in Maya,Lino Masciulliin Cinema 4D andAnto Juricic Toniin
Modo.
I am sure you will agree with me that there is plenty to get your teeth stuck in
to there, and if you are struggling for inspiration check out our gallery which is
featuring images by David Moratilla, Maarten Verhoeven, Gun Phil Parkand
many more.
Copyright 1999-2011 3DTotal.com Ltd. All Rights reserved
All products and websites created/published by 3DTotal.com Ltd including www.3dtotal.com,
www.3dcreativemag.com, www.2dartistmag.com all physical books, ebooks, emags, video content, texture
libraries and any future releases may not be reproduced in any form or by any means, without the prior
written consent of the publisher.
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page 3www.3dcreativemag.com Issue 072 August 2011
Setting up your PDF readerFor optimum viewing of the magazine, it is recommended that you
have the latest Acrobat Reader installed. You can download it for free,
here:DOWNLOAD!
To view the many double-page spreads featured in 3DCreative
magazine, you can set the reader to display two-up, which will show
double-page spreads as one large landscape image:
1. Open the magazine in Reader;
2. Go to theViewmenu, thenPage display;3. Select Two-up Continuous, making sure thatShow Cover Pageis also selected.Thats it!
Issue 072 August 2011
David Moratilla, Gun Phil Park,
Jacinto Monteiro & more!Gallery - 10 of the best images
from around the world!
Sam Yang3dcreative interview this
fantastic artist
Modeling Features of the Human AnatomyJose Lazaro,Gavin Goulden, Lino Masciulli& Anto Juriciccontinue ourHuman Anatomytutorial series by showing us how to create feet.
Cartoon AnimalsYaroslav Primachenko creates this cool looking cartoon character in thesecond chapter of this tutorial series.
NEW!!! Vue Environment CreationIn this issueAlex Popescu starts this new tutorial series by creating The Bayin Vue.
Anatomy, cartoon animals, low polyhunters plus much more crammedinto this months 3dcreative magazine.
Mercedes-Benz300SL (1955)Project Overview by Martin Forg
CoverimagebySamYang
Get the most out of your
Magazine!If youre having problems viewing the double-page spreads that wefeature in this magazine, follow this handy little guide on how to setup your PDF reader!
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page 4www.3dcreativemag.com Issue 072 August 2011
Contributors
Contributing artistsEvery month artists from around the world contribute to 3DCreative, and
you can nd out a little more about them right here! If youd like to get
involved in 3DCreative magazine, please contact:[email protected]
GavinGoulden
Gavin Goulden is a
character artist for
Irrational Games
working on Bioshock
Innite. With 6 years
games industryexperience, he has contributed character and
environment art assets to multiple titles including
Dead Rising 2, The Bigs 2, Damnation and
FEAR 2.
http://www.gavimage.com/
JoseLazaroJose Lazaro is a
freelance characterartist based in the UK.
After working in big
titles like CastleVania:
Lords of Shadow and
Dead to Rights he has decided to change his
career creating characters for indie games with
more artistic and technical control, developing
the pipeline and the nal result. Currently he is a
mentor for one of the best CG schools.
http://josemlazaro.com/blog/[email protected]
AntoJuricic
Anto Juricic Toni is
a character artist
and he currently
lives in Bosnia and
Herzegovina, where
he works at Primetime
Studio as a modeler and texture artist on
animated features. Along with his passion for
creating CG characters he also enjoys teaching
others and sharing his techniques through many
online tutorials and publications.
http://anto-toni.cgsociety.org/gallery/
LinoMasciulliLino Masciulli worked
as an art director in
the advertising eld
until 2006. In recent
years he moved into
the entertainmentindustry by working as the senior modeler
for Rainbow CGI in Rome participating in the
production of Winx and the Secret of the Lost
Kingdom, Winx Club 3D Magic Adventure and
other movies. He currently works for the same
company on other animated feature lms.
www.linomasciulli.com| [email protected]
TamaraBakhlychevaTamara Bakhlycheva
was born in Russia.
She graduated
traditional art-school
and art-college
and now resides in
Moscow, working as freelancer 3d character-
artist and dreaming about working for Blizzard.
Tamara loves to play video games and has done
since the age of 5. Tamara has been making art
for video games since 2005.
http://rst-keeper.livejournal.com/
W o r l d M a g s W o r l d M a g s
http://www.3dcreativemag.com/mailto:[email protected]://www.gavimage.com/mailto:[email protected]://josemlazaro.com/blog/mailto:[email protected]://anto-toni.cgsociety.org/gallery/mailto:[email protected]://www.linomasciulli.com/mailto:[email protected]://first-keeper.livejournal.com/http://first-keeper.livejournal.com/mailto:[email protected]:[email protected]:[email protected]://worldmags.net/mailto:[email protected]://first-keeper.livejournal.com/mailto:[email protected]://www.linomasciulli.com/mailto:[email protected]://anto-toni.cgsociety.org/gallery/mailto:[email protected]://josemlazaro.com/blog/mailto:[email protected]://www.gavimage.com/mailto:[email protected]://www.3dcreativemag.com/8/9/2019 3DCreative_2011-08S370
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page 5www.3dcreativemag.com Issue 072 August 2011
Contributors
Would You Like to Contribute to3DCreative or 2DArtist Magazine?We are always looking for tutorial artists, gallery submissions, potential
interviewees, making of writers, and more. For more information, please
send a link to your portfolio, or send examples, to:[email protected]
SamYang
Sam Yang works at
Blizzard Entertainmentand is currently
working on StarCraft
II. His passion for
digital art started as a
hobby but he was later able to develop it into his
dream job. He enjoys creating different types
of 3D characters and creatures. His inspiration
comes from watching cinematics from the Final
Fantasy series and playing Diablo II.
http://www.cg-sammu.net/[email protected]
MartinForgMartin Forgac comes
from Slovakia andcurrently lives and
works in Bratislava.
He started to learn
computer graphics
during his studies at the University of Mass
media communication. Between 2007 and 2008
he worked as a 3D artist for Alien Studio and he
currently works as a freelance artist.
http://www.rebro-art.com/[email protected]
AlexPopescu
Alex Popescu works
in the visual effects
industry specializing
in lm work. He
concentrates on
digital set creation,environment design and concept art. He also
works on set extensions and 2D matte paintings.
At the moment he works as a Lead DMP\
Environment artist at MPC London.
http://www.alexpopescu.net/
Image by Jacinto Monteiro
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All these good andbad decisions led me tosome valuable industryexperiences that money
cant buy
Some artists grow into the industry and
others work hard for their dream jobs, but
there are also artists who were born
for a certain job! This is
the case with Sam Yang.
From a young age he
was destined for a job at
Blizzard and achieved
his goal at a young age.
This is one talented guy!
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page 9www.3dcreativemag.com Issue 072 August 2011
Sam Yang Interview
Can you tell me a bit about yourself and how
you became a renowned artist?
During my high school years I loved to draw
my favorite characters and all sorts of nasty
creatures on paper. I decided then that I wanted
to turn my hobby into a career. Inspired by
video game cinematics, I nally decided that
I needed to go to an art school to learn the
fundamentals of 3D to get things started. After
graduation I committed myself to polishing my
skills in my free time so I didnt fall behind in
the industry. Entering competitions on forums
denitely helped me get closer to becoming
a renowned artist it is a great way to get
more exposure, receive critique and open upfreelance opportunities.
When looking at your work I can tell that you
certainly dont lack ideas. From where to
you extract your inspiration; is it comics, old
movies, life or something out of the box?
Going back to the old-school low poly
characters that we all remember to be so
amazing has been my newest approach this
year. When recreating Zero from Marvel vs
Capcom(originally from the Rockman X series)
I knew he would already have a great target
audience. This way people can easily relate to
the character which is something I think about
a lot before committing to anything. I wanted
him to have a new twist, yet maintain that
iconic original design that Capcom came up
As artists, its important that we try to step awayfrom whats already been seen and introduce
things that are fresh and unique
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page 10www.3dcreativemag.com Issue 072 August 2011
InterviewSam Yang
with. Thinking out of the box is a good way of
putting it. As artists, its important that we try
to step away from whats already been seen
and introduce things that are fresh and unique.
Some inspiration comes from watching my
childhood favorites: Laputa, Nausicaa, and
many others. As for video games, the ones that
had an impact on me when I was young were
Final Fantasy VII-X, StarCraft, and Diablo II.
Modeling-wise, have you ever started your
model from scratch, disregarding the current
stage or development, due to having a new
idea?
Yes, I have. Sometimes the rst pass of yourmodel gets revised and tweaked afterwards in
production. Coming back to it a second time
or even a third time is usually for nal polish
purposes on our team.
How have you rened your workow after so
many successful projects and competitions,
and how has it evolved?
The reason I enter art competitions is not for
the prizes, but because I learn something new
at the end of each one. When I was a student I
was trying to do everything in a single software
package. After a lot of trial and error I started
to understand how much faster and cleaner
my workow could be. Things like switching
to RoadKill for UV unwraps, and rendering
real-time on the Marmoset engine has saved
me a ton of precious time. I work with 3ds Max,
ZBrush, Roadkill, Marmoset and Photoshop.
Learning how other artists approach their
contest pieces is another great way of improving
your skills as an artist. Silhouettes and making
sure the shapes read well at a distance is very
important as well.
Have you ever wondered what it would be
like if you deviated from your current style
and started to make cute furry creatures that
the world could fall in love with?
[Laughs] I will make something cute and furry
next time I get the chance! I do enjoy watching
Learning how otherartists approach
their contest pieces isanother great way toimprove your skills as
an artist.
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page 11www.3dcreativemag.com Issue 072 August 2011
Sam Yang Interview
my free time, taking some time off to get away
from the computer is nice and important
especially in this industry where so many hours
are spent behind a desk. When I do get a spare
moment I like to spend some time with my family
and grab some drinks and party it up with my
friends.
movies like Ice Age and Finding Nemo, so
perhaps this new direction could turn out
fantastic.
Because of the potential of 3D tools these
days do you ever make your concepts within
them, or do you usually create traditional
concepts?
Its always better to keep up with whats new in
the industry today. I dont really have a great
grasp of tradition art, I usually just keep an
open mind and let my imagination run wild. If
it doesnt work out, then I slowly bring things
back down to a simple level so I can adjust
them. At the end of the day my job as a 3D
artist is to give people an epic experience with
breathtaking characters and environment art so
the creation process is very important.
It seems like you are happy in your job and
like intersecting with the CG community.
What do you do in your free time?
Working in the CG industry has always been fun
to me. Being able to contribute to well-known
games such as StarCraft II and make money
full-time just makes it that much better! As for
I dont really havea great grasp of
tradition art; I usuallyjust keep an open mind
and let my imaginationrun wild
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page 14www.3dcreativemag.com Issue 072 August 2011
InterviewSam Yang
Have you ever considered taking on a role
as an educator? The reason I ask is that you
present your art in a way that gives people
an insight into the process you use.
I have never imagined myself has an educator
before; I dont see myself as having great
teaching abilities, but I guess its nice to try
everything at least once. I would love to sharemy knowledge, experiences and honest opinion
with artists who are seeking help in this eld.
Looking back to when you were younger
what were your goals when you were
practicing your art?
Back in the day when I was a graduate, I was
taught to not worry about low hourly wages and
low freelance offers when starting out in the
industry. It was difcult to nd jobs to begin with,
so I accepted anything I could so my resume
would expand more quickly. Studios only want
people with experience. Ive done 3D art in
different elds such as aviation, architecture,
ash animation and now at a game/cinematic
company. All these good and bad decisions led
me to some of valuable industry experiences
that money cant buy. I wanted to learn as
much as I could while I was still young. Every
company does things differently and has
certain art styles. I believe seeing it from
every perspective has denitely helped me to
understand what I really want to do.
I know our readers are dying to know the
sensation and feeling that you have after
playing a game you worked on, or seeing a
movie that has something you created in it.
How does this feel?
[Laughs] I never knew how to react after
watching SmallvilleSeason 7 and after seeing
StarCraft II publicly announced and released
around the world! But yes, I get emotional
It was difficult to findjobs to begin with, soI accepted anythingI could so my resume
would expand
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page 16www.3dcreativemag.com Issue 072 August 2011
InterviewSam Yang
sometimes when I look at how far Ive come:
from the days when I drew a stick man on lined
paper with my stubby ngers to someone who
is now working in the entertainment industry. I
remember I was just a fan who played StarCraft
Broodwar, and now Ive created assets for
Wings of Libertyand Heart of the Swarm for
Blizzard Entertainment! Its crazy!
Thanks for taking the time to do this
interview with us and looking forward to
those cute furry creatures that the world has
never seen before!
Sam YangFor more from this artist visit:http://www.cg-sammu.net/
Or contact them at:
Interviewed by:Predrag Rcneasta uka
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Pro 64-bit version only $599 for Windows and Mac OS X,full-featured entry-level 32-bit version an incredible value at $399
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Has to be seen to be believed!
I've been faffing about with the texture extractiontool and it's brilliant!
Texture extraction in Syntheyes 2011 is awesome.
It works so well it must be magic.
I love the tracker radar!
It's useful AND it looks cool.
You've got a great product at an incredible price.
Fixing Shaky Shots
Virtual Set Extensions
Animated Character Insertion
Product Placementin Post-Production
Face & Body Motion Capture
Talking Animals
What Our Users Say About SynthEyes 2011Typical Applications
See the tutorial at http://www.youtube.com/SynthEyesHQ
Nowwithamaz
ingTextureExtraction
and
SophisticatednewAfterEffectsexpor
ter!
Match-moving,Set Reconstruction,and StabilizationSynthEyes 2011
W o r l d M a g s W o r l d M a g s
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This month we feature:
Maarten Verhoeven
John-Mark Gibbons
Casper Thomsen
Klimov Alexey
Livio Rajh
Wesclei Barbosa
Gun Phil Park
David Moratilla
Jacinto Monteiro
3Devotion - Claude Kongs / David Horbach
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page 21www.3dcreativemag.com Issue 072 August 2011
The Gallery 10 of the Best send us your images! | [email protected]
Dino BabyJohn-Mark Gibbons
http://www.johnmarkgibbons.com
(Above)
Villa exteriorvisualization
3Devotion - Claude Kongs / David Horbach
http://www.3devotion.com/
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10 of the Best The Gallerysend us your images! | [email protected]
All Roads Lead to RomeLivio Rajhhttp://cigians.com
(Below)
GiantWesclei Barbosa
http://wesclei.com
(Right)
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Trailer Park QueenMaarten Verhoeven
http://mutte.cghub.com/
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The MarauderCasper Thomsen
http://3d-artist.dk
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God of Synthetic GravityKlimov Alexey
http://jips3d.daportfolio.com/
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The Gallery 10 of the Best send us your images! | [email protected]
FAUP - Path to KnowledgeJacinto Monteiro
http://[email protected]
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GuitaristGun Phil Park
http://www.oxcube.com/cgpark
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Close-Up Portrait
David Moratilla
http://www.davidmoratilla.com
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Coming up in this issue...This month our artists will show you how to
model feet.
So if youre interested in seeing the fth
chapter of this great series, please ip to the
back of this magazine and enjoy.
3ds max - Page 068
Maya - Page 072
Cinema 4D - Page 076
Modo - Page 080
Chapter 5 - Feet
Modeling the features of characters is something that has caused problems for many artists
over the years. A good model can easily be spoiled by an incorrectly modeled feature, such
as a hand or an ear. This eBook offers a step-by-step guide to help you make sure you never
struggle with feature modeling again, presenting detailed chapters that have been written
specically for 3ds Max, Maya, Cinema 4D and modo.
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Low poly characters with painted textures
can seem a little old school at times, but in this
series Tamara Bakhlycheva embraces the old
style and shows us how to do it well with fascinating
results. In this series Tamara will walk us through the entire
process from the basic modeling through to the texture painting
and posing. Most of the steps will be taken in Maya, but there will
also be an opportunity to look at the benets of using other pieces of
software in your workow.
Chapter 1|May Issue 069Creating the Concept and Modeling
Chapter 2| JuneIssue 070Mapping
Chapter 3 |JulyIssue 071Texturing
Chapter 4|This IssueRendering and Presentation
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page 33www.3dcreativemag.com Issue 072 August 2011
Low Poly Characters Chapter 4:Render and Presentation
Chapter 4 - Renderingand Presentation
Software used: Maya, Photoshop, ZBrush, Deep
Paint, Marmoset Toolbag, Adobe Premiere and
Faogen
Youll probably be exhausted after working on
your character for so long and you probably feel
that you dont want to look at it anymore. This
sometimes happens with me too, but the next
part is just as important as the previous stages.
Its very sad when looking at forum competitions
to see potentially good entries that were ruined
by poor presentation and renders. Respect your
art and value the time you spent on it.
I think that the pedestal for a character has to
be a piece of its environment. It can be a simple
piece of rock or something that says something
about your character and his occupation. At the
same time though the pedestal should be simple
so it doesnt distract the attention from the main
character.
The Demon Chaser name made me think about
a hunter who displays their hunting trophies.
I decided that a severed demon head would
be a good choice. I had no concept for this
head so I spent some time just moving vertices
before I created an interesting and recognizable
to it. Using an adjustment layer helped match
the colors of the head to those of the plinth
(Fig.03).
I didnt use a rig for creating the pose, but you
can if you wish. For me the easiest way to pose
the character is using Soft Selection. I separated
parts of the body for comfortable bending. I did
two poses for some variety (Fig.04).
silhouette. The rst colors were too bright,
so I de-saturated them. I also added some
unsymmetrical details by breaking the horns
(Fig.01).
I made a piece of terrain from a simple box
(Fig.02). The texture of the terrain was painted
in the same way with a rough base color which
then had a detail pass and photo textures added
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Chapter 4:Render and Presentation Low Poly Characters
Preparing the model to export into Marmoset
takes some time as well. I used the Preserve
UVs function to maintain the texture when I
moved points around. I cleaned up the outline
and turned the model horizontally before
exporting it (Fig.05).
The Marmoset Toolbag is a really great tool
for creating fast previews of game models
(ofcial site http://www.8monkeylabs.com/
tech/toolbag you can download a free trial
version here). After the model is imported create
a new material and name it. Select the mesh
and assign the appropriate material to it. In the
File menu you can set up auto-reload for the
texture and mesh, which will update the texture
and mesh every time that you adjust the texture
in Photoshop and upload it again. That is why
Marmoset is so good as a model viewer when
you are painting textures (Fig.06).
Choose the Sky Lighting presets and move Sky
Brightness and Sky Rotation. Choose a shader
type in the Channel Model and set up the
specular. You can move the sky while holding
Shift. Hold Alt to rotate and move the camera
and Ctrl to move and rotate the model (Fig.07).
I chose the Forest Ambience preset and
installed a second light. The blue light will add a
rim light to the model and will make it look less
at. It will also cast intensive specular highlights
on the metal parts of the model (Fig.08).
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Low Poly Characters Chapter 4:Render and Presentation
Fig.10shows a PSD le, which well use for
composing our turntable. The size of your le
should correspond to your videos resolution.
Im going to make the video in HD resolution, so
my PSD le is 1920 x 1080 pixels. I downloaded
a few different fonts from an online library and
picked one. Its better to use one font or two that
are similar to keep everything the same style.
The background color should be the same as
the renders background. All gradients can be
added later in Adobe Premier. All layers from
that PSD can be used later for my turntable. I
did two dark torn surfaces on the sides and left
In the View menu I set the background color,
turntable speed and wireframe. In the Render
menu you can add post-effects if you wish; I
only added Sharpness. For capturing video and
screenshots set the output folder and resolution.
I also used an Auto-stop Mesh turntable to
capture the video, which stops after one full turn.
To reset the model to the start position press
Reset Mesh. Dont make the turntable speed
to fast; it can cause some of the artifacts to
appear on the video. I did three video loops and
screenshots with the diffuse gray material and a
wireframe (Fig.09).
a free space in the center for the model. I also
put Slipgatecentrals concepts in the same le
and each concept has its own layer.
The rst thing that you need to do in Adobe
Premier is create a new project. Import your
video les and PSD as individual layers. You
can work with the PSD in Photoshop and add
new layers later, but be careful if you change
the name or position of a layer that you have
already put in Adobe Premier then it will ruin it.
So I suggest adding all layers before you import
them (Fig.11).
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Chapter 4:Render and Presentation Low Poly Characters
Adobe Premier has a logical and simple work
space. In the left window there are imported
les, so it is a bit like a plate with different
ingredients on it. The Timeline Zone shows the
video and audio tracks. This is our table where
we prepare and put together our ingredients.
All you need to do is take one imported PSD
layer and place it on the track. You can add,
rename or delete tracks. Tracks with permanent
layers like the credits and gradient go above the
other layers. The background layer goes rst
at the bottom. Well also use the Effects, Effect
Controls and Sequence preview window. In
Fig.12is a little demonstration of the most often
used video effect: Cross Dissolve.
You can add a soundtrack or audio if you wish.
The nal touch here was to animated the smoke
layers. When I imported the smoke it was in
Normal mode, but Adobe Premier allows you
to use Photoshop modes, so I changed it to
Overlay and applied a Wave Warp effect for
each smoke layer with slightly different settings.
Adobe Premier has a lot of interesting effects
which you can use for your own presentation;
dont hesitate to study them all and nd the one
that suits you best (Fig.13).
Balancing quality and le sizes can be quite a
hard process. My nal settings are on the right
ofFig.14. You can see the video here: http://
vimeo.com/19114702.
I used the same colors and pattern presets for
the nal shots as I did on the video. I spent
some time moving the gures around until I
was happy with the presentation. I usually mix
the wireframe in Multiply mode and a plain gray
model for the nal presentation (Fig.15).
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Low Poly Characters Chapter 4:Render and Presentation
Photo textures work quite well in the
background. Add details to your nal
presentation carefully and remember your
character is the main focus here. Dont let
anything steal attention from your character.
Bright and intensive colors in the background
are not a good idea.
The nal step is always to use Smart Sharpen.
This operation, when used in conjunction with
Blur and Sharpen, gives the illusion of depth.
You can also try to do it using Marmoset
post-effects. I usually do three or four shots of
one pose and present it with some other shots
showing technical information (Fig.16).
These are my nal images to present in the
forums (Fig.17 19).
Thanks for reading my tutorials! I hope you
learnt something new. Special thanks go to
Vadim Bakhlychev aka Slipgatecentral (http://
slipgatecentral.deviantart.com) for help with
the text and the great concept. Many thanks to
3DTotal for their patience and for being the guys
who make these tutorials happen.
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Tamara BakhlychevaFor more from this artist visit:
http://rst-keeper.livejournal.com/
Or contact them at:
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Creating cartoon animals is a great starting point for anyone who
is thinking about having a go at 3D. Cartoon animals are usually
made up of shapes and forms that are fairly simple to model and
since realism is not the focus of this kind of work, it gives you
an opportunity to be expressive and experimental at all points
of the creative process. In this series our artists will be talking
you through how to approach this task, rstly by concentrating
on how to create your idea, but then moving on to the modelling,
texturing and post-production. Each chapter provides you
with an opportunity to see into the workow of these industry
professionals who will give you a priceless insight into what is a
huge part of the CG industry.
July Issue 071Chapter 01 | Mosquito This IssueChapter 02 | Emu Next IssueChapter 03 | Armadillo
October Issue 074 Chapter 04 | Scorpion November Issue 075 Chapter 05 | Squid December Issue 076Chapter 06 | Sloth
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Cartoon Animals Chapter 02 | Emu
hands. This is just an obvious example; there
are millions of different combinations, so think of
them when designing your characters. Make it
visually strong and recognizable so that it works
even in a low light or strong back-lit situations,
when the beautiful color or all the lovely
details that you put into the character really
doesnt make any sense. Take a look at some
really successful characters and ask yourself
what makes them work. Try to analyze and
understand the principals they are built on. But
dont stare too much, especially right before the
designing process you could end up copying
Chapter 02: EmuSoftware used:3ds Max and ZBrush
Hello! My name is Yaroslav Primachenko and
this tutorial is all about designing cool looking
cartoon animal characters.
Design and SketchingThe rst thing you need to know is how you
are going to make your character unique and
recognizable. This is really the rst and main
goal you want to achieve. You could do a great
job of the modeling, spend half of your life on
the lighting and texturing, ruin your health while
setting up the render through sleepless nights,
but if the design doesnt work, neither will the
image. So let me walk you through the process
of designing my Emu character and explain the
basic principles I used while creating it.
The rst thing that makes the viewer pay
attention to the character is its silhouette its
proportions and contrast. And Im not only
talking about the contrast in color, but mainly
the contrast that denes the basic shape of your
design. Strong characters can have a very small
head and legs, but a huge body and muscular
someone elses work. Do it in your spare time
when watching TV, eating your cereal, talking
to other people or planning an evil plot against
the world!
First of all I searched for some reference images
of a real emu. What I liked is that its feathers
look like hair both on its head and body. I
checked the internet and found out that emus
have much softer and more exible feathers
than other birds. I thought that it would be a
good idea to exaggerate this feature. I had
several ideas about the main proportions of the
body and after some thinking I decided that the
rst design in Fig.01was the one I liked best.
Though I liked the idea of making the head
of the character very big, or making it hardly
visible, I didnt like that it made my design look
too childish or created the situation where the
face would be very hard to read.
I started with some quick pencil sketches
(Fig.02). As I didnt need to present them to a
client I made them quick and dirty. The main
goal at this stage was to work out the basic
proportions of the character, its silhouette
and facial features. I also had to give it a
stylized look whilst making sure it remained
a recognizable animal. I quickly moved to
ZBrush as I nd ZSpheres a unique and handy
way to create basic topology and work out the
proportions and silhouette of a model (Fig.03).
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Chapter 02 | Emu Cartoon Animals
DetailI converted the ZSpheres into a mesh and
continued working on the character. I decided
that my character should have hair so I made
a mesh to represent it and blocked in the main
parts to better understand the proportions. I also
decided that my character should have some
kind of scarf on as the references of the emus
had a lot of hair around their neck, as if they
were in constant fear of catching a cold (Fig.04).
I moved the model to 3ds Max and continued
working on the design by blocking out the big
parts but not concentrating on the details. This
is also the time when I started thinking about
the color of my character. Though natural emus
are a gray/brown color it would not be the best
solution to leave it like this and so I decided to
change the color scheme. I roughly colored the
character and it seemed okay to me (Fig.05).
want to head with your character, then you
can remodel it later. It is always a good idea to
exaggerate the key features of your character as
it will help people to relate to your design better.
As you can see I have made the neck and its
legs much thinner and the body smaller, thus
adding a desirable contrast to the character. The
combination of a heavy head and huge feet on
a thin neck and legs makes the character look
the way I wanted it to (Fig.06). And now it didnt
look like a chicken! Great!
Choosing ColorsI continued to work on the design in ZBrush,
improving and tweaking it and starting to
add some detail (Fig.07). Some people add
color to the character only after nishing
After that I made a draft render and took it into
Photoshop. I added some details quickly, just
to have a sense of what the nished character
could look like. I was very aware that my emu
looked a bit like a chicken (dont get me wrong
I like chickens). I also didnt like the proportions
so I made some improvements using the Liquify
lter in Photoshop. By the way, for those of
you who cant nd it anywhere you have to
download it separately for CS5 from the Adobe
site. As far as I remember it was included in
the standard CS4 pack. But this is one of those
must use plugins when designing a character.
It means you can quickly and easily change
the proportions of your model without having to
spend much time on it. You can use this chance
to spend 15 minutes thinking about where you
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Cartoon Animals Chapter 02 | Emu
to use millions of colors from the beginning.
First, ll the main parts of the character with
solid color and if it works nicely then start to
add variations and all the details you need.
Remember that your character will look better if
it has one dominant and a few complementary
colors. When designing the emu I decided that
it would be a character that basically looked
cool and slightly evil (hence the teeth) though
not very clever. So I mainly used bright and
saturated combinations as the base color, but
also added some blacks (Fig.08).
Detailing Your DesignClothing can tell a lot about your character,
such as its background and habits, so dont
underestimate this part of the designing
process. Though it should be recognizable
without any clothes on at all, this is a good
chance to exaggerate some of the key features
and add extra detail. For example, torn and
dirty clothes can be used for poor characters.
The eye patch and a wooden leg is what makes
a pirate a pirate! Well, of course it shouldnt
always be that obvious. Remember Conan
Doyles Sherlock Holmes and how he used to be
able to tell the background story of a person just
by looking at him and analyzing the small details
of his clothes? Thats how you have to be like
Sherlock Holmes, just with only one difference:
you have to tell the viewer through the details,
not guess. I decided that my character would
be a bit of an emo. I didnt want to depict it
fanatically, but just wanted to give a sense of it.
Lighting Your DesignThough the lighting may seem like it is
something that doesnt directly concern the
characters design, the truth is you can tell a lot
through the way you light your character. You
can make it look more evil by lighting it from
beneath, or mysterious by lighting it from the
behind. The lighting and atmosphere should
reinforce the characters personality.
Well, after saying all that I should be honest
and tell you that in my case the lighting was
rather simple. I wanted to stylize it to make it
look like an amateur photo with over-burned
areas, noise in the shadows and all the stuff
you usually see on the internet when people try
to take photographs of themselves. After some
thinking I admitted that it wasnt the best idea
in the world as I not only wanted the picture to
be funny, but of a good quality too. The lighting
set up looked like this (Fig.09). A V-Ray light
the modeling process. I like to do it earlier
than that as color can tell you a lot about the
characters personality. For example, dark
color combinations are for bad guys, whereaslight colors usually express good and friendly
characteristics and contrasting combinations of
blue, red, green and so on are for superheroes.
From time to time I turn off the diffuse to see the
geometry clearly, but most of the time I work on
the two together.
I like to use the ZBrush UVW Master for the
draft unwrap; its a really a brilliant plugin
that saves a lot of time. I usually x it a littleto make it possible to use more of the UVW
space and make it easier to paint extra details
in Photoshop later. I make some test renders
in 3ds Max with hair to make sure all the parts
work well together.
Theres no magic behind the texturing process,
you just have to keep in mind the nal design
and make the color work best for it. Dont try
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for the main ll light, and three spot lights with
attenuation one for the rim, the second for the
key light source and the third for some additional
backlighting. I also added a plane under the
character with a radial gradient in the materials
opacity channel, so that the oor kind of fades
away to the edges of the picture.
Finishing Your DesignI didnt use many post effects on this image. I
rendered the scene in several separate layers
Specular, Reect, Hair, Ambient Occlusion
and so on then combined them using
Photoshop. I added a few texture layers on
top of the image to add some depth and
take away that digital look a little. I created
the new layer, set it to Soft Light and drew
some extra highlights using a soft brush
just to make the image pop a little more
(Fig.10).
ConclusionI hope you learned something from
this tutorial and found it interesting.
Thank you for reading now its
time to go and make some designs
to rule the world!
YaroslavPrimachenkoFor more from this artist please visit:
http://www.yar-design.com/
Or contact them at:
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VFSSTUDENTWORKBY
KAREMYAMIN
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Vue is a fantastic piece of software that is being
used more and more in the movie industry to
create beautiful, realistic environments. It can
meet the needs of almost any artist in any
situation and, as with most CG packages, the
Chapter 1 | The Bay
only limitation is your imagination. In this series
Alex Popescu will be exploring how to get the
best out of this versatile software, talking us
through all the options on offer and looking at
the ways in which Vue can be used to create
stunning environments and back-drops. If you
are interested in Vue as a piece of software, or
if you are thinking of having a go at creating CG
environments, then this tutorial is the one for
you!
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Vue Environment Creation Chapter 1: The Bay
Chapter 1 - The BaySoftware used:Vue
IntroductionWelcome to the rst part of a series of Vue
tutorials created for 3DCreativemagazine. We
will be exploring the creation of landscapes,
tackling a different environment each month.
The special thing about this series is that the
tutorials will be very results-driven. This means
that I will concentrate on pointing out the
essential elements of landscape creation and a
cost-effective way of getting great results, rather
than getting stuck into the technical side of
things. The reason I am doing it like this is that I
want to write articles that are easy to follow and
that are about the principles more than anything
else. Working as an environment artist in the
lm industry, I know the pressure of production
and that is why I feel the end result is the most
important thing. The software is just the tool that
will help you reach that result.
The series should be interesting for beginners
and intermediates, but it will also be lled with
enough great tips to keep advanced readers
interested. I would like to start by recommending
that you take a look at the work of Dax Pandhi.
He is a very advanced user who creates
stunning nal results.
Choosing YourSubjectStarting a new project can be a bit difcult. But
the most important thing is to set a goal. If you
already have a brief, that shouldnt be too hard.
If you dont, take the time to come up with one
yourself. Working without one can be a lot of
fun as a quick exercise, but when working on a
bigger project the goal should be very clear from
the beginning.
For the rst tutorial were going to create a
Mediterranean-style coast scene. I know
that I want to go for a result that looks pretty
photoreal, so it makes sense to start by looking
for good reference images as this is the key to
creating realistic 3D environments. It is easy to
get carried away into thinking that your image
looks photoreal, but only by comparing it with
real-life examples will you be sure of that. I will
talk a bit more about this later on.
The TerrainTo build my coastline, I start with a procedural
terrain (Fig.01). By editing the function that
generated the terrain I create the result I want.
The setup is based on a model created by Dax
Pandhi. This approach uses two terrain fractals
that are later combined. I use one of them to
create the larger features of the terrain and then
the second one for the more detailed shapes.
The one that creates the large features has
been ltered to give it a canyon aspect. I need
that for the steep cliffs of the coastline.
The two terrain lters can then be combined with
a Blender node. You have to experiment with
the values of the nodes until you get the result
you are looking for. This is where experience
and technical training comes into place. You
should know that by clicking on the Terrain
editor window with the Function editor open, you
will update the preview of the procedural terrain.
So any changes you make to the nodes will be
previewed straight away.
The last node I use is a strata lter, which
creates the nice lines running across the full
length of the coastline. There is just one thing to
be careful with here: the scale of your ground.
Having the right scale set up will save you a
lot of trouble later. Go to the Size tab, lock the
scaling proportion and then choose the size you
are aiming for (Fig.02).
Setting up the CameraNow that we have a general idea in place for
the terrain, we can choose a nice camera view.
Before I do this I create a sea layer, because
the water level is going to affect how much I see
of my terrain, and of course the composition of
the image. After doing that, I am free to move
around with the camera, and choose something
I like. I want to see the nice steep cliff in the
distance, the bay and have an interesting
foreground, so lets go for something that
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Chapter 1: The BayVue Environment Creation
includes all of that. This is a moment where you
should spend a bit of time exploring your scene
because you might nd some great surprises.
This is where the power of Vue becomesobvious: after just one hour of work, you are
already exploring a full 3D environment.
Setting up theLighting
After nding the view that looks right, there are
still two things to worry about. The rst, and
probably the most important, is the lighting.
Choosing the lighting scenario is very important
so this is where having a good reference comesinto play. Find a good image and aim to light
your scene like that.
My advice would be to start from one of the
default physical atmosphere setups. Choose a
good direction for the sunlight that helps to show
the volumes of your terrain. Usually a side light
which is not too high will give you nice daylight
results. Here are my atmosphere settings
(Fig.03). Notice the lowered setting for the
quality boost which improves the render times.
Of course, if you are not planning to move
the camera you can reuse the indirect lighting
calculation to speed up your test times.
The First RenderBefore starting the rst render there is one
last thing we have to take care of: the material
of our terrain. For the rst test I use one of
the default materials, Rock and Grass, from
the Landscapes option. It helps you read the
volumes of the terrain well. I leave the water
with the default material for now, choose the
Final render preset, and press go. Here is the
result (Fig.04). It isnt the most photoreal thing
youll ever see, but we still have a way to go.
Building TheMaterialsThe next step is to start working on the
materials. Im happy to keep the lighting as it
is and the terrain also looks like it could work
for now. What you have to keep in mind when
reading this is that my approach is inuenced
by how you would work with this kind of scene
if it was for a movie. Im trying to keep the
elements as neutral as possible, with a lot
of range for changes. Our nal result is an
image, which means that I will do all the nal
tweaks in Photoshop, so the important things to
concentrate on now are those elements that I
cant control there.
One of these things is the distribution of
materials. This is where we get to see the power
of the Vue Material editor. One of the things I
use most is the altitude distribution. With the
correct settings, you can create a complex
material that simulates real ones very closely.
In the case of this image I start by working on
the cliff material. By using the mixed material
and altitude distribution I create three big areas:
the cliff, the beach and the underwater sand
(Fig.05). I also modify the parameters of the
water to get it closer to the look I want. Its
looking way too transparent and reective at
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Vue Environment Creation Chapter 1: The Bay
the moment so lets concentrate on those and
change the overall hue. This is what Ive ended
up with (Fig.06).
Control is the KeyIt could get a little tricky now because of the
large scale, but I want to further rene the
materials. The obvious solution is to try to split
the terrain into smaller pieces that will be easier
to control creatively. So I duplicate my ground
three times and then sculpt away the parts I
dont need. This makes working on the scene a
lot easier in the long run (Fig.07).
Focusing on SpecificAreas
The next natural step is to focus on improving
each piece of the terrain. So I start with the far
cliff, working on the material. I add another step,
trying to create a darker line along the area
where it makes contact with the water (Fig.08).
This idea came from looking closely at my
reference images.
Please keep in mind that when working on a
specic area you should always use the render
region option to reduce the time wasted in the
test renders. You might have to test the values
of the mixing amounts in the Material editor
a couple of times until you get what you are
looking for. An important detail is to specify the
way the two materials blend and if you want a
sharp or a progressive transition between the
two. In this case I want a sharper line to get a
better feel of that area where the water touches
the cliffs. I apply the same technique on all the
terrain segments. It is also noticeable that Ive
changed the color of the water to create a better
sense of scale. Having deeper blue for the
water means having deeper water and therefore
automatically a bigger scale (Fig.09).
Adding theVegetation
Im happy with the terrain now so its time to
start working on the vegetation. The ecosystem
technology is what revolutionized Vue a couple
of years ago, and it is a very handy tool. In a
specic environment, like this one, I tend not to
use automatic distribution, but paint the areas
I want the vegetation to grow on. This way I
have a lot more control over the vegetation
and on the composition. Adding vegetation
can be a very tricky task though. Recreating
the natural variation is not easy, and a lot
of time must be spent trying to improve the
look of your ecosystem. Because of the more
general approach of this tutorial, we will not go
into that, but keep in mind that this is a very
important point when you are creating your 3D
environment.
A lot of the time you might need to create
custom plants, or even use outside models to
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Chapter 1: The BayVue Environment Creation
get the look you want. Again, I have to repeat,
having good reference images is essential
(Fig.10).
But as I said, I want to keep it simple and so I
only use a type of tree, the Springtime White
Birch. Here is how our scene looks after the
ecosystem painting (Fig.11). The beach seems
a bit too empty so lets add some bushes using
the same technique (Fig.12).
Adding Details to theTerrain
Now that the general elements are in place, wecan concentrate on making things a bit more
interesting. The far cliff looks a bit boring, so
lets modify the terrain a bit on the far edge.
Here is how the terrain looks after Ive worked
on it a bit (Fig.13). When making these kind
of changes always check the result through
your render camera. There is no point in
making it look cool in the terrain editor if it is
not interesting in the nal image. I know there
are some artefacts here and there, but there is
nothing that cannot be xed later (Fig.14).
Rendering the ImageAt this point, Im happy enough to start a serious
render. Not everything is perfect and it doesnt
look photoreal, but I have faith in the way
things were going. This is another step where
experience will tell you say if its the right time
or not to go to post-render work. On the other
hand, you can always come back and tweak
stuff, so if you feel like throwing your renders
into Photoshop and playing with them give it a
go and see what happens.
Its time to prepare everything for Photoshop
now. Its not just about the render at this point,
its also about all the things you can use in
Vue that could help the tweaking process later.
Enable the multi-pass render, and start adding
stuff that you think could be useful. You should
always render passes like ZDepth, Indirect
Illumination, Shadows, Reection etc, plus
object masks, material masks and any other
thing you think might help. Be careful though;
this will increase your render time, so if there is
a time constraint, keep it under control.
Be careful with the output PSD le. All the
layers will be locked and there will be a lot of
information in extra channels (object alphas,
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Vue Environment Creation Chapter 1: The Bay
etc). When you open the PSD le look around
and try to think about the way that you could
use the extra passes. They will have several
blending modes which can be changed by
default, so take a look at how they look in
Normal mode you might be surprised at the
effect (Fig.15). Here is the render with some
extra passes on the bottom. So the work is done
now, surely? No, not even close (Fig.16)!
The PhotoshopProcessing
As I said earlier, what Im actually looking for
in my Vue render is a good base to work with.
That means that I want all the elements in place,
I need the lighting, I have all the extra passes,
so all I need to do is tweak all this information
to get the best result. In lm visual effects, the
result of the CG pipeline is what we have at
the moment and its the role of the compositor
to make all the elements t together nicely. Of
course, this is just a simplied description of the
actual process, but the principle is the same.
The reason behind all of this is simple: speed.
At this point our render times are already a bit
slow. A change in the color of the water will take
way too much time to render. However, having
the water as a separate element in Photoshop,
allows us to do that extremely quickly. So we
can be exible and creative, and most of all,
results driven. Having good references will
come in handy again, because right now we can
actually have the two next to each other.
Only one question could arise. Given the fact
that we are processing the image in 2D, arent
we losing the power of 3D? What if you have
a moving camera in your scene? Well, at this
time, this is not our goal. We just want to create
a good looking image using the power of Vue.
And that is still in reach. But, dont worry; there
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Chapter 1: The BayVue Environment Creation
are a lot of techniques to do exactly the same
thing using this process. Its not the purpose of
this tutorial, but I will probably talk about this
subject in a later article.
The SkyI am sure youve noticed that I havent talked
much about the sky at all. Well, there is a
reason for that. Even though Vue skies look
good, in most cases there is simply no need to
use a CG sky. There are tons of amazing picture
libraries that you can use, and the result will be
well, photoreal. This is what you would do in
real-world production where time is an issue, so
unless you have a good reason for it, I wouldnt
spend too much time trying to get it to look right.
I choose a very typical daylight sky, because I
dont want the image to look too dramatic. The
goal is still a natural looking image (Fig.17).
Color CorrectionsThe image is really coming along, but at this
point, Im not very happy with the tones and
the values of my CG elements. So by having
the reference images on top of my render I
color correct my cliffs and my water to match
those from the photographs. This way I know
I will be closer to real values (Fig.18 19).
In the next step I take advantage of the extra
passes I rendered earlier. For example, I think
that the trees are a bit too shiny and the hard
light makes them look a bit too plastic. So I
use the indirect illumination pass and mask the
ecosystems alpha to get rid of those and add to
the natural feel. I add depth to the far cliff using
the depth pass, and lower the contrast in the
foreground. When doing large scale outdoor
environments, it is important not to have too
much contrast, because that doesnt really
happen in real life (Fig.20).
The next thing I do might look a bit strange,
but it is actually very easy to do and efcient. I
add a bit of extra detail to the overall image in
the places that look a bit too clean to me, by
creating adjustment layers and then painting in
the masks. For example, on the far cliff I create
a Hue adjustment layer that makes it green, and
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Vue Environment Creation Chapter 1: The Bay
then invert the mask. By taking a small brush
and painting in the mask you can reveal a bit
of the green in places of your choice. I use the
same approach for the beach (Fig.21).
Going back to Vue for a bit of extra help painting
bits of grass on the cliff is easy, but some
other stuff might not be so. This is true for the
water. I feel it needs a bit more underwater stuff
around the far cliff, but painting those in could
turn into way too complicated a job. So lets go
back to Vue and do a fast render of the ground
with the underwater sand/vegetation material
everywhere (Fig.22). This can now be used asa pass, multiplied and revealed around the far
cliffs and shore (Fig.23).
The FinishingTouchesThe image is starting to look pretty good, right?
But there are still a couple of things to do. First,
if you look closely, you can see there are still a
few places where the render has some issues.
Just took the Clone brush and sample some
places next to the problem areas. This can be
done around the far cliff and the vegetation on
the beach, which looks a bit too big (Fig.24).
Time to add a bit of fun to the image! Its a
shame to create such a nice place and have
nobody to enjoy it, right? So lets bring in a
couple of human elements to add a bit of life
to the image not to mention scale and a bit
of a story. People love to see environments
populated, and a detail like this can make your
image more appealing (Fig.25). The tiny boat
on the left really looks great, and helps the
composition too.
Speaking of composition, there is one last thing.
When I do a Vue render, I tend to render a
bigger area then I initially intended, just to get
more space to play with. In terms of this image,
I think cropping the image will make it look a
bit better. So after adding a bit of chromatic
aberration, and de-focussing some areas, I crop
the image and its done!
This concludes the rst tutorial about Vue
environments. If you got this far it must have
been a pretty interesting read, so if you have
any questions or suggestions for the next month
feel free to email me. Cheers!
Alex PopescuFor more from this artist visit:
http://www.alexpopescu.net/
Or contact them at:
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